India Today

COLUMN LEGENDS OF THE FALL Traditiona­l wrap gets a new age makeover 16

ALTHOUGH THE APPEAL OF THE SAREE REMAINS UNIVERSAL; IT’S ADAPTABILI­TY IS WHAT KEEPS IT CONTEMPORA­RY, SAYS MASABA GUPTA

- MASABA GUPTA FASHION DIRECTOR, SATYA PAUL

The classic nine yard saree, tucked and folded, draped without fasteners remains at the heart of what Indian women have worn across generation­s. Young or old, lean or well-rounded, this is the only dress that contours the shape of the woman who wears it. Unlike other countries where the national dress is limited to special occasions and festivals; the saree transcends occasions and is worn by women at work, for parties, and even while running around the kids.

I feel it is the adaptabili­ty of this unstitched piece of cloth that has kept it relevant for so long. Inclusive of popular trends and societal changes, the saree has been tweaked at different stages and continues to evolve. Earlier, variations were developed based on regional factors and living conditions. Fabric, draping, surface treatment and ornamentat­ion vary with the popular Kaancheepu­rams, Benarasis, Ikat and Maheshwari­s. To this day,

these variations continue to multiply and some are even part of the mainstream wedding market.

However, it was the era of the chiffon saree that turned things around for the saree in contempora­ry India. Immortalis­ed by Maharani Indira Devi of Cooch Behar, this airy fabric challenged salwar suits at work. The most glamorous work wear outfits, in my opinion, are these lightweigh­t sarees pinned on sleeveless blouses and styled with a string of pearls. Thus began the era of the modern saree. It was easy to drape and could be customised with the addition of a border or a different drape. Indian women loved it and so did Bollywood. From the ‘Mumtaaz Saree’ in Brahamacha­ri, to Sridevi’s seductive dance in Mr. India, the saree was now a power dress, a force to be reckoned with.

Globalisat­ion in the 90’s saw an increasing awareness about fashion and the rise of excess. I remember fondly looking at advertisem­ents of Indian supermodel­s in flowy, printed sarees depicting patterns of nature, playful graphics and inspired design details. There was a newness and fun in dressing up, with women now embracing wearable art and choreograp­hed collection­s. Chameuse satin had replaced heavy lehengas and Madhuri Dixit’s ‘ Hum Aapke

hai Kaun’ saree was the rage. The western LBD had met its embellishe­d rival in satin. Its borders were made heavier, choli blouses were embroidere­d and the cocktail hour became prominent. My favorite of the time were the disco-

A GREAT SAREE SHOULD BE PAIRED WITH THE RIGHT BLOUSE, CARRY THE PERFECT PLEATS; WORN WITH A SHARP JACKET OR CINCHED AT THE WAIST

inspired printed sarees in the brightest colors. You’ve got to love this decade.

Everything that has a peak must fall. The decade of celebratio­n gave in to minimalism and effortless­ness. Pioneers in Indian design developed innovation­s in draping styles, overall shapes and cuts. A good saree is no longer about a strip of cloth, it needs to be paired with the right blouse, carry the perfect set of pleats, worn with a sharp jacket or cinched at the waist for better movement. While there is a school of thought that believes that the saree’s unstitched version remains sacrosanct, I personally feel that the future belongs to the stitched Saree. With the first ‘trouser saree’ being introduced as early as 2002, designers are now working towards combining comfort with excellence in surface fabricatio­ns. The rules are being rewritten every day. The underskirt can now be replaced by leggings, pants or even shorts in some cases. Digital prints and Swarovski crystals are just as desirable for a woman building her wedding wardrobe. Restrictiv­e bodycon blouses are not compulsory; you can just put on a crop top or a shirt.

While the saree remains integrated in our cultural mindset, its paradigms are shifting. They can now be worn as kaftans, maxi-dresses, pulled up as pants or just draped over shararas. The idea is to remain central to what defines comfort for you and invest in a look that epitomises it. Most of all, don’t forget to top it up with a vivid print and have fun in it.

 ??  ??
 ?? Images courtesy: SATYA PAUL ?? THE SATYA PAUL ‘HAPPINESS’
SAREE, INSPIRED BY THE ART OF TYPOGRAPHY ( LEFT); THE DIVIDED SAREE
(2011) ( BELOW)
Images courtesy: SATYA PAUL THE SATYA PAUL ‘HAPPINESS’ SAREE, INSPIRED BY THE ART OF TYPOGRAPHY ( LEFT); THE DIVIDED SAREE (2011) ( BELOW)
 ??  ?? PRE- STITCHED SAREE VARIATIONS WORN OVER A CHURIDAAR ( FAR LEFT);
HAND- PAINTED TROUSER SAREE ( LEFT)
PRE- STITCHED SAREE VARIATIONS WORN OVER A CHURIDAAR ( FAR LEFT); HAND- PAINTED TROUSER SAREE ( LEFT)
 ??  ??
 ??  ??
 ??  ??
 ??  ??
 ??  ?? SAREES INSPIRED BY THE WORK OF
ARTIST RAJA RAVI VARMA (1993) ( TOP RIGHT); SATYA PAUL (A/W 2013 ( RIGHT)
SAREES INSPIRED BY THE WORK OF ARTIST RAJA RAVI VARMA (1993) ( TOP RIGHT); SATYA PAUL (A/W 2013 ( RIGHT)
 ??  ??

Newspapers in English

Newspapers from India